By Caroline Van Eck
All through background and around the globe, humans have interacted with artworks as though they have been dwelling beings instead of static items. humans consult artistic endeavors, kiss or punch them, even fall in love with them. The phenomenon is extensively documented, but there were virtually no makes an attempt to formulate a theoretical account of this interplay or gather a heritage of the way it's been understood. This publication fills that hole, concentrating on sculpture within the interval among 1700 and 1900 and drawing on rhetoric and fetish thought to construct a proof of the way the brilliant physicality of artistic endeavors leads audience to transgress the common barriers among gadgets and themselves.
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Extra info for Art, Agency and Living Presence: From the Animated Image to the Excessive Object (Studien aus dem Warburg-Haus)
The chocolate spread onto the walls formed a psychic border between the space of the cellar and the interior, subjective space of the viewer: not a chocoholic’s dream but a nightmare of unobtainability. 42 The fear of contamination and the possible consequences of death (or annihilation of subjectivity) illustrate the terms of the abject, which Julia Kristeva identifies as a ‘place where meaning collapses’. 43 In Couverture the viewer was caught up in an interplay of physical and sensual relationships: chocolate is associated with feelings of 24 P S Y C H I C S PAC E S Fig 5.
Siegfried Kracauer has described the architecture of the railway station as a ‘gigantic hotel atrium’ and the shell of the 1970s office block where Counsell’s installation was sited eventually housed the Novotel Hotel, an equivalent socially-dissolving spatial field in which the sense of place and time slips away. An office block made empty for redevelopment, a hotel and a railway station – all articulate the instabilities of the spatial in their proximity to change. Both St Pancras and the Novotel Hotel are sites of terminus and possibility: crossroads for comings and goings, arrivals, departures and disappearances.
21 EXPLORING SITE-SPECIFIC ART functional parts. St Pancras International’s marketplace as architecture can be perceived as a projection of the alienation suffered by the environmental unconscious. 38 Counsell’s installation, 110 Euston Road, collapsed fears of both contiguity and exclusion associated with agoraphobia whose ‘double condition’ is played out in the psychic space of St Pancras International as a primary site for a twenty-first century ‘railway phobia’. In the agoraphobic’s anxiety about rejection, the dread of both estrangement and immersion is embodied by the moving crowd, the unpredictability of which represents a threat to the perceived autonomy of the individual, for it is always going somewhere and forever past you.